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摘要
摘要
Haydn is enjoying renewed appreciation as one of the towering figures of Western music history. This lively collection builds upon this resurgence of interest, with chapters exploring the nature of Haydn's invention and the cultural forces that he both absorbed and helped to shape and express. The volume addresses Haydn's celebrated instrumental pieces, the epoch-making Creation and many lesser-known but superb vocal works including the Masses, the English canzonettas and Scottish songs and the operas L'isola disabitata and L'anima del filosofo. Topics range from Haydn's rondo forms to his violin fingerings, from his interpretation of the Credo to his reading of Ovid's Metamorphoses, from his involvement with national music to his influence on the emerging concept of the musical work. Haydn emerges as an engaged artist in every sense of the term, as remarkable for his critical response to the world around him as for his innovations in musical composition.
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Comprising essays written by a distinguished group of leading scholars, this collection is remarkable for its critical insights, its methodological rigor, and its avoidance of trendy and tendential postmodern jargon and jingoism. The essays, taken as a whole, contribute much to understanding of Joseph Haydn as a composer of enormous creative and intellectual complexity. Individually the essays illuminate areas of Haydn's creativity that have been overlooked or underexamined. Of especial importance are Elaine Sisman's essay on Haydn's opera L'isola disabitata, which examines the influence of Gluckian reforms on Haydn's operas and details the cordial relationship between Haydn and the poet Metastasio; Caryl Clark's essay on Haydn's final opera, L'anima del filosofo, and its relationship to the Orphic tradition and to the composer's oratorio The Creation; Pierpaolo Polzonetti's highly original examination of the influence of Ovid's Metamorphoses on Haydn's compositional procedures; and Mary Hunter's illuminating examination of fingerings in Haydn's string quartets. In sum, this book is a significant addition to the ongoing reevaluation of Haydn as the central figure of musical creativity in the 18th century. Summing Up: Recommended. Lower-division undergraduates and above. W. E. Grim Strayer University
目录
IntroductionMary Hunter and Richard Will |
Part I Cultures of Vocal Music |
1 Fantasy island: Haydn's metastasian 'Reform' operaElaine Sisman |
2 Haydn invents ScotlandRichard Will |
3 Haydn's English canzonettas in their local contextKatalin Komlós |
4 Revolution, rebirth and the sublime in Haydn's L'anima del filosofo and The CreationCaryl Clark |
5 'Achieved is the glorious work': the creation and the choral work conceptNicholas Mathew |
Part II Analytical Readings and Rereadings |
6 Imagination, continuity, and form in the first movements of Haydn's Opus 77 QuartetsLewis Lockwood |
7 Does Haydn have a 'C-minor mood'?Jessica Waldoff |
8 Form, rhetoric, and the reception of Haydn's Rondo FinalesMichelle Fillion |
9 Haydn and the Metamorphoses of OvidPierpaolo Polzonetti |
10 Credo ut intelligam: Haydn's reading of the Credo textTom Beghin |
Part III Performance |
11 Haydn's string quartet fingerings: communications to performer and audienceMary Hunter |
12 Haydn's orchestras and his orchestration to 1779, with an excursus on the times of day symphoniesNeal Zaslaw |
Bibliography |